This collection interrogates the representation of humanitarian crisis and catastrophe, and the refraction of humanitarian intervention and action, from the mid-twentieth century to the present, across a diverse range of media forms: traditional and contemporary screen media (film, television and online video) as well as newspapers, memoirs, music festivals and social media platforms (such as Facebook, YouTube and Flickr). The book thus explores the historical, cultural and political contexts that have shaped the mediation of humanitarian relationships since the middle of the twentieth century. Together, the chapters illustrate the continuities and connections, as well as the differences, which have characterised the mediatisation of both states of emergency and acts of amelioration. The authors reveal and explore the significant synergies between the humanitarian enterprise, the endeavour to alleviate the suffering of particular groups, and media representations, and their modes of addressing and appealing to specific publics. The chapters consider the ways in which media texts, technologies and practices reflect and shape the shifting moral, political, ethical, rhetorical, ideological and material dimensions of international humanitarian emergency and intervention, and have become integral to the changing relationships between organisations, institutions, governments, individual actors and entire sectors.

politics and notes that we need to think more deeply about the models of ‘reflexivity’ that lead to activism. 56 While she sees promise in tools offered by cultural studies, she also recognises the need to move into ‘wider’ and more ‘messy’ terrain to explore how ‘alternative economies elicit affectual investments (or not)’. 57 Thus, to understand how and when media cultures support a global humanitarianism for distant children

in Global humanitarianism and media culture
Offline and online games, branding and humanitarianism at the Roskilde Festival

In humanitarianism the popularising of causes, and the use of celebrities and media culture to do so, is a rising phenomenon. Academic writing on humanitarianism, however, tends to criticise the popular, especially when it is mediated through celebrities. 1 Such critiques often intersect with disapproval of the growing collaboration or crossbranding between humanitarian

in Global humanitarianism and media culture
The United States Peace Corps in the early 1960s

begun to look beyond the bureaucrats, academics and politicians who devised policy, to investigate how the public engaged with international development during the 1950s and 1960s. 4 This chapter extends such work by focusing on the role played by media and popular culture in constructing public images of international development, with particular reference to the United States Peace Corps. The cultural significance of

in Global humanitarianism and media culture

2 Horseracing, the media and British leisure culture, 1918–39 edia experience was part of everyday activity. It helped make sense of the world and construct cultural citizenship.1 Reading the racing pages in the sporting, national and regional press or the adverts, novels and non-fiction with a racing theme, provided a temporary escape from Britain’s economic problems. Watching breathtaking racing action shots in newsreel and film was enhanced by ever-improving photographic equipment. As electricity and radio became more available, the BBC radio commentaries on

in Horseracing and the British 1919–39
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Since the 1990s, there has been a marked increase in the scholarly consideration of the relationships between humanitarianism and media culture, and from a range of critical and disciplinary perspectives and institutional contexts. 1 An emergent field of inquiry has been significantly shaped by several foundational analyses of the representation of humanitarian crisis, and particularly of the media’s various repertoires

in Global humanitarianism and media culture
From starving children to satirical saviours

Networks’, p. 210; S . Orgad , Media Representation and the Global Imagination ( Cambridge and Malden, MA : Polity Press , 2012 ), p. 157 ; L . van Zoonen , ‘ From Identity to Identification: Fixating the Fragmented Self ’, Media, Culture & Society , 35 : 1 ( 2013 ), pp. 44 – 51 . 55

in Global humanitarianism and media culture
Journalism practice, risk and humanitarian communication

Human Nature ( Bonn : Social Brain Press , 2011 ). 21 For the former, see B. Höijer , ‘ The Discourse of Global Compassion: The Audience and Media Reporting of Human Suffering ’, Media, Culture and Society , 26 : 4 ( 2004 ), pp. 513 – 31 ; J. Petley , ‘ War

in Global humanitarianism and media culture
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Television and the politics of British humanitarianism

starvation to mobilise against and overthrow Emperor Haile Selassie’s imperial government. 4 Yet despite its importance, The Unknown Famine and the mobilisations that followed it have been largely neglected in studies of humanitarianism and media culture, being overshadowed by the larger-scale Ethiopian famine of 1984–5, which sparked the iconic Band Aid/Live Aid phenomenon. 5

in Global humanitarianism and media culture
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The management of migration between care and control

Spanish media, followed by the Italian media. Soon the packed refugee boat on the open sea became the image that symbolised migration to Europe. It also became the central figurative element in the debate on European refugee and migration policy and was used by all sides to legitimise their respective demands and ideas. 2 Over the last two decades, while the EU has more or less eliminated internal borders

in Global humanitarianism and media culture